SNAKEFOOT TAKE THE LONG WAY HOME

On Afro Maximus, Olympia's SnakeFoot stretch classic-rock muscle across a sprawling and psychedelic PNW landscape

Across 12 tracks and nearly 53 minutes, on Afro Maximus, the Olympia band take the big-riff confidence of '70s rock and run it through the dirtier instincts of '90s and 2000s alternative, giving the whole thing a distinctly Pacific Northwest roughness.

“Heaven on Top” is a fitting entrance. SnakeFoot establish their scale through guitar weight, a sturdy rhythm section and the kind of melodic directness that makes a rock song immediately physical. From there, Afro Maximus has room to wander.

SnakeFoot have enough classic-rock discipline to make the riffs land, and the production and performances retain the slightly unruly character associated with their PNW surroundings. I hear echoes of grunge and grime. I recommend it to anyone who wants their rock music heavy and willing to take a few scenic detours.

Interview with Snakefoot

(•)> Afro Maximus arrives after Irredeemability, which already established SnakeFoot's blend of classic rock, grunge and PNW influences. What did you most want to change or expand on the new album?

(•)> The album opens with “Heaven on Top.” Why did that particular song feel like the right doorway into Afro Maximus?

(•)> How do you balance the polished, melodic side of 1970s classic rock with the rougher edge associated with '90s and 2000s alternative?

(•)> Did the PNW environment influence the album's guitar tones, arrangements or overall atmosphere in a conscious way?

(•)> Irredeemability included the 12-minute “King of Crumbs.” Has writing longer songs changed the way you think about structure and repetition?

(•)> Was Afro Maximus written as an album rather than simply a collection of individual tracks?

(•)> How important is the rhythm section to SnakeFoot's sound when the guitars become particularly heavy?

(•)> Did you approach the production differently this time around, particularly in terms of preserving the band's live energy?

(•)> “Green Fern” became one of the songs associated with SnakeFoot before Afro Maximus. Did its response influence the direction of the new material?

(•)> The band's music can move from straightforward rock songwriting into much more expansive territory. What determines when a song needs to stay concise and when it needs to stretch?

(•)> What contemporary artists do you think are doing something genuinely interesting with the classic-rock vocabulary that SnakeFoot are drawing from?

(•)> After making Afro Maximus, what do you think SnakeFoot now understand about the band's identity that wasn't clear when you recorded Irredeemability?

(•)> That's all, Folks! Check out Snakefoots on the Pigeon Opinion Playlist